Posts Tagged ‘Parametric’
Work T.O.gether; an interactive site model + interface with AoUC
Work-TOgether interactive urban design site model + interface from Fishtnk on Vimeo.
May 2010, Gallery52
52 McCaul St. Toronto ON
Visit the photo gallery.
More informatoin on the urban analysic of the exhibition at AoUC.
Parametric chair Collection
Parametric chair collection
This collection is an ongoing research-based project focused on user input in mass-customized furniture production. Pieces like Three, Vessel chair, Bungeeseat, Leftover chair are a few that were developed to production level.
This collection is developed in Grasshopper for Rhino software platform. The input sensory has been a series of digitizers, image based mapping techniques and live input.
Parkdale Chair
“Parkdale chair” is made with off cuts of other studies in the Parachair collection. Designed in parametric design platforms has allowed for more efficient use of resources. Working with CNC machines and other CAM (Computer Aided Manufacturing) technologies usually results in large amount of waste and unsalvageable leftover materials. The parametric design platform allowed for better analysis and use of the off-cuts.
Flexible back-support to adjust to different proportions.
Parkdale chair is a small lounge chair made with white-birch plywood and felt cushions. The flexible back is uniquely design to accommodate different body types and proportions.
Three; an explodable chair
“Three” was designed in early 2009 as part of Parachair collection.
Parachair was a series of studies and prototypes focused on Parametrically designed furniture with capability of mass customization.
Using negative space as a design element, it frames three hollow cushions to become a chair.
Three was designed with removable components with magnetic joinery to be taken apart easily to become three cushions.
Music + Architecture; introducing Tunable Sound Cloud
Tunable Sound Cloud
Beyond acoustics in music performance halls; a responsive sound system for architecture.
My research on Music+Architecture started in 2003 with Professor Gulzar Haider at Carleton School of Architecture. Since then I have been meandering between the two arts/sciences [debatable.] This 6 year search has resulted in a number of art pieces, installations and architectural projects that I will try to dig out and add to this blog as I go. During these years I have learned/worked/collaborated with many different artists,professors, students. hopefully I will get chance to mention their contributions when I talk more about the projects.
It is my goal to keep this research as collaborative as possible and make it a platform for open-source architecture.
In one paragraph:
The Tunable Sound Cloud is a proposal for a layered three dimensional dynamic spaceframe that adjusts to it’s environment with linear actuators driven by micro-controllers. The self-supporting structure, being a ceiling application, is made of an array of triangulated modules that are hinged to one another and folds on itself.The responsive surface layer, actuated with memory alloy wires (muscle wires) will control the apertures of the surface to adjust sound reflection or sound absorption to enhance the acoustic performance of the space.
Intro:
Looking at music in different time periods, from dark ages to baroque, high classical era to twenty first century experimental music, there is a relationship between the architecture of spaces music is composed and performed and how the music is written. In today’s modern or trans-modern era we design we design multi-purpose performance halls and spaces that are so generic that could accommodate any music and program.
I will be looking at responsive systems in architecture and music to design a tunable performance space that could be adjusted to meet the absolute sound requirements for a specific sound performance.
Baroque period 1600-1750
Interior view of Coutances' cathedral, department of Manche, Francephotograph by: Eric Pouhier
Baroque period 1600-1750
Interior view of Coutances' cathedral, department of Manche, Francephotograph by: Eric Pouhier
- Musicians: Bach,Handel,Vivaldi,…
- Architecture: Gothic architecture
- Reverb 3.0-3.2 sec
- Special characteristics of that era: Unaccompanied music ,Contrasting music and vocals
Classical period 1750-1820
- Musicians: Mozart, Beethoven,Haydn,…
- Architecture: Neoclassical architecture
- Reverb 1.8-2.0
- Special characteristics of that era:More popular- published music as entertainment result change in scale of Venue [architecture],More complexity and layering
Romantic Period 1820-1920
- Bayreuth Festspielhaus
- Musicians: Schubert, Puccini, Wagner,…
- Architecture: Neoclassical +Art Nouveau
- Reverb 1.8-2.2
- Special characteristics of that era: Sound/Acoustical engineering,More color and tone in the music, Wagner designs the 1st opera house for his own performance. 1924 grand opera dies; Turandot, puccini.
Modern and Contemporary
Einstein on the Beach 1976
- Musicians: Philip Glass, John Cage, …
- Architecture: Modern architecture
- Reverb: Electronically controlled
- Special characteristics of that era: Music becomes an multimedia performance enhanced by electronic devices.
programmatic topic [the proposal]
Sketches:
This study looks at a dynamic ceiling structure made with two layers:
Spaceframe-structure [Bones]
Surface [Skin]
Structure:
The structure is based on a series of hinged triangular spaceframes, connected and actuated at the top center of the frame to the adjacent frames.
Preliminary sketch of the structural layer:
Skin:
Tunable Sound Cloud; Responsive Surface Study from Fishtnk on Vimeo.
Above is a study of the surface movement with Nitinol wires to control the sound behavior for the Tunable Sound Cloud Project.This study is designed as a 10X10 grid of micro responsive modules [10X10mm units] to control the acoustic properties of the surface.
the physical prototype :
Tunable Sound Cloud, prototype tile from Fishtnk on Vimeo.
below is a study of the system, interfaced through Grasshopper and Rhino modeling platforms, the ceiling structure of the Tunable Sound Cloud is controlled and adjusted to accommodate different acoustical settings.
Actuated with Arduino micro-controller and servo motors.
Tunable Sound Cloud _ responsive ceiling surface from Fishtnk on Vimeo.
Ontology of space in Cmaj7
Ontology of space in Cmaj7
An experiment in music/architecture
This project has been an attempt to compose space from sound. Or capture the space between two musical notes.
Two notes, C and G have been translated through Max/MSP application to a series of numbers. These numbers create coordinates to a point cloud which define a space in Rhino 3D modeling environment. Through a series of exploration with different methods of surfacing some forms and objects were contrived. Each note created a virtual object that was unrolled and unfolded to a group of flat surfaces.
These surfaces were translated through a laser cutting method to two physical models. Each model representing a note became a base for a network of stretchable fabric to connect the inside edges of the two panels together. The space captured between the surfaces is a note between C and G which expresses a Cmaj7 chord.
December 2007
Toronto
The Bungeeseat; Fishbol 2009 Collection
My design process for the Bungeeseat was a precedent‐based exploration on material and ideas. The first of my sketches came from a visit to the design museum in London which featured an exhibition called “Design Cities”*; seven cities were presented. Bungeeseat combines elements of Rene Herbst’s Chaise Sandows with the structural language of Jean Prouve whose works were exhibited at the show in London. Keeping the core elements of these two examples, I began our own digital iterations of this model. This project became a platform for a series of parametric explorations in our furniture design process. With a series of modeling scripts and algorithms, I was able to achieve real‐time visualization and calculations of components for improved performances in my designs.
Rene Herbst ‐ The French architect turned designer was nicknamed the “man of steel”. He pioneered the use of industrial materials for furniture years before mass production on a large scale was possible. In 1929 he created several versions of his celebrated Sandows Chair, which ignited his research into serial production and inaugurated the era of mass production in the hype of modernism**, giving impetus to global production and a new era for design and architecture. Modernism and the ideas from that movement are fascinating for me, but it was not my intention to recreate modern furniture with modern ideals; my approach was nostalgo‐modern along with today’s conscious in material selection. Rather than the concept of global/mass production, we focused on limited production at Fishbol.
The other part of this project was to figure out Toronto’s role as the “Eighth Design City.” Our intention was to keep production local and more responsible to the environment. I was able to supply the bungee cords from an old Canadian manufacturing company here in downtown Toronto, and the Bamboo‐ply is from a supplier in Markham, Ontario. Though the Bamboo‐ply is not sourced locally, it is considered a rapidly renewable resource with extra structural strength. These qualities made bamboo‐ply a better choice compared to conventional Baltic‐Birch plywood that was used for my first study models and prototypes.
The final phase is packaging for projects like the Bungeeseat. Going back to the drafting board and study models with the help of Sara Navid, we developed a quite stylish reusable cardboard box that would allow for repackaging of this ready‐to‐assemble (RTA) chair. Most of the packaging design was done by Elie.
*http://www.designmuseum.org/exhibitions/2008/designcities
**David Raizman, History of modern design: graphics and products since the Industrial Revolution;Published by Laurence King Publishing, 2003
